KKS 68: Difference between revisions
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亭子院歌合の時よめる | 亭子院歌合の時よめる | ||
Read at the time of the | Read at the time of the [[Retired Emperor Teiji Poetry Competition]] | ||
伊勢 | 伊勢 | ||
| Line 34: | Line 34: | ||
== Notes == | == Notes == | ||
;Read at the time of | |||
:Some scholars read this phrasing to mean the poem was not actually part of the competition, but was simply read at the event. The poem does not appear in current manuscripts of the competition. However, there is enough textual variation in the preface that the wording alone does not definitively establish the circumstance. | |||
| Line 41: | Line 44: | ||
== Analysis == | == Analysis == | ||
The final poem of the first volume, like the preceding two, involves concern over the soon-to-come scattering of the cherry blossoms. The poem shows concern and pity for the mountain cherries that people don't visit, but also suggests a desire on the poet's part to see more cherry blossoms. Katagiri points to other contemporary poems to show that it was commonplace to say that mountain cherries bloomed later than others, and so that this poem is exaggerating that to the point where Ise doesn't want them to wait just a little bit, but rather until all the other flowers are completely scattered and done. | |||
McCullough writes that in this poem, "which was assigned a place of special prominence at the end of the first book, she achieves a graceful, fluid rhythm and a gentle, often plaintive tone, subtly different from the style of any other major KKS author." (391) | |||
Tō no Tsunenori (''Ryōdo kikigaki'') labelled this a ''jukkai'' poem -- that is, one that expresses some feeling or emotion of the speaker beyond the surface meaning of the poem. Tsunenori does not explain further, nor do any of the other pre-modern commentators, although Kamo no Mabuchi points to an allusion to this poem in the ''Tale of Genji'' that he says supports the idea as well. The ''Genji'' citation (in chapter 8, "Hana no en") is debatable since the passage points to two cherry trees that are still in bloom, which may have an additional meaning but is not clearly so. | |||
Kaneko(1927) seems to be the first one to explain this more fully; his idea is that she is wishing that her own beauty had flourished later, when Emperor Uda (Teiji) did not have other women that he was paying attention to. Other scholars seem reluctant to take this view, with Miura(1948) flatly rejecting the idea that it is a ''jukkai'' poem. It may be that this reading was influenced by the knowledge that Ise was one of Emperor Uda's consorts and even bore him a future Emperor, and also by the love story-like nature of the surviving ''Ise collection''. | |||
[[KKS 67|Previous poem]] | [[Kokin wakashū|Contents]] | [[KKS 67|Previous poem]] | [[Kokin wakashū|Contents]] | ||
[[Category:Spring]] | [[Category:Spring]] | ||
Latest revision as of 17:53, 7 August 2026
Text
亭子院歌合の時よめる
Read at the time of the Retired Emperor Teiji Poetry Competition
伊勢
見る人もなき山里の桜花ほかの散りなんのちぞ咲かまし
|
miru hito mo |
Where no one sees |
Notes
- Read at the time of
- Some scholars read this phrasing to mean the poem was not actually part of the competition, but was simply read at the event. The poem does not appear in current manuscripts of the competition. However, there is enough textual variation in the preface that the wording alone does not definitively establish the circumstance.
Other sources:
Analysis
The final poem of the first volume, like the preceding two, involves concern over the soon-to-come scattering of the cherry blossoms. The poem shows concern and pity for the mountain cherries that people don't visit, but also suggests a desire on the poet's part to see more cherry blossoms. Katagiri points to other contemporary poems to show that it was commonplace to say that mountain cherries bloomed later than others, and so that this poem is exaggerating that to the point where Ise doesn't want them to wait just a little bit, but rather until all the other flowers are completely scattered and done.
McCullough writes that in this poem, "which was assigned a place of special prominence at the end of the first book, she achieves a graceful, fluid rhythm and a gentle, often plaintive tone, subtly different from the style of any other major KKS author." (391)
Tō no Tsunenori (Ryōdo kikigaki) labelled this a jukkai poem -- that is, one that expresses some feeling or emotion of the speaker beyond the surface meaning of the poem. Tsunenori does not explain further, nor do any of the other pre-modern commentators, although Kamo no Mabuchi points to an allusion to this poem in the Tale of Genji that he says supports the idea as well. The Genji citation (in chapter 8, "Hana no en") is debatable since the passage points to two cherry trees that are still in bloom, which may have an additional meaning but is not clearly so.
Kaneko(1927) seems to be the first one to explain this more fully; his idea is that she is wishing that her own beauty had flourished later, when Emperor Uda (Teiji) did not have other women that he was paying attention to. Other scholars seem reluctant to take this view, with Miura(1948) flatly rejecting the idea that it is a jukkai poem. It may be that this reading was influenced by the knowledge that Ise was one of Emperor Uda's consorts and even bore him a future Emperor, and also by the love story-like nature of the surviving Ise collection.
